MrSMW

Well that is pretty decent. In that case, I might look even harder at the system next year… The R3 is for my needs the best body currently on the market. A Nikon Z6iii with additional battery grip is probably going to beat it…maybe…for me and as someone now 50% invested in Nikon, almost certainly where I will be going. But at the end of every season, I review my needs and Canon could be an option, especially now that Sigma have joined the party, but would need to have brought out a pretty extensive FF line by next Spring. I think Canon really do need to lighten up on their lens stance though or it will bite them in the arse. If it is not already nibbling…

Actually, what am I blathering about?! The only time I need the EIS is for tracking the couple, outdoors, once, maybe twice. Doh. Absolute none issue. I'll simply put it on a function button! I'd normally be tracking at '42mm' and it will be '58mm'. I'll just increase the distance between myself and the subject by a couple of feet et voila. Move on, nothing to see here 🤪

Well if that is the case, it’s maybe a little too extreme even for me…but maybe not… My 28-70 will become a 58- (classic focal length!) 145mm (a focal length that has probably never existed, but who cares). Outdoors, no problem. Indoors, hmm… The 18-50 crop lens is going to become more like a 37-104mm which might be better. Or there’s always 6k 30p open gate with just the EIS crop but max 80% slow mo which might work… I’ll have to play…

I have mine set up really simply using C1, C2, C3...but then I am a simple guy 😜 C1 = 4k 50p, Log, WB 5500, auto ISO (+ 2-5 or 6-9 VND inc. 1/8th mist) IBIS + EIS (my 'outdoor daytime setting) C2 = 4k 50p, Log, WB 4500, auto ISO (+ 2-5 VND inc. 1/8th mist) IBIS + EIS (my 'indoor daytime setting) C3 = 4k 50p, Flat, WB 3500, auto ISO (+ 1/8th mist) IBIS + EIS (my 'near to or after dark setting) For the couple of occasions I briefly stick my S5ii on a tripod which is a couple of times at every job, I do not bother switching off the stabilisation as I'd probably only forget to turn it on again. The above just works for my run & gun workflow with this unit (Sigma 28-70mm f2.8 glued to it and in S35 mode, equiv to 42-105mm which is a perfect focal length to me) as I do not move in an out of these scenarios, but typically transition from one to another. The only thing I am not sure of is if enabling the EIS adds a further crop to the 4k 50p 1.5x? If it does, I might switch to the Sigma 18-50mm f2.8 for my 'C3' setting as the '42mm'+ of the bigger (but still compact) zoom might be a but tight for some of my needs. Unless anyone knows, I guess I will have to download the firmware and find out for myself...

My personal preference is the Contemporary line from Sigma. I think these are great for photo and video users with manual aperture rings and a convenient AF on/off switch. Mostly f2 primes plus compact f2.8 28-70mm. All that is missing for me is something like a 70-180/200 under 1000g. If this line was available in Canon RF and they made that compact sub 1kg longer zoom that I need, I’d buy up some used R3’s (which are finally coming down in price) and happy days would follow.

Long since killed 4/3 for me. Well compared with the G9 and OM-1 anyway. S5ii vs G9 in the same body? Other than the longest of lenses, or unless you were heavily invested in a huge range of 4/3 glass, why would you? And the OM-1, I love it for its build and handling and even how it looks, but if I had to pick just one to work with, photo, video or hybrid, again, for me at least, it’s a no-brainer, S5ii. The teeny tiny bodies and lenses, for discrete use, fair enough but for work, nah. I still don’t much care for it for stills though which is why I have moved to Nikon for that. Same sensor in the Zf and Z6ii and I prefer both, in different ways, for stills and the result I am getting out of them is near identical (as in as good or better but not quantifiably) but the Nikon user experience is better. The Zf is the snappier but less ergonomically good than the S5ii but the Z6ii with or without battery grip is nicer to use than the Lumix. What I want is the guts of the Zf in the Z6ii body and that will probably be the Z6iii within the next couple of months. If so, I am done and will have the perfect pair for my work; the S5ii for video and Z6iii for stills because I will trade the Zf and Z6ii for a single Z6iii. If I had to rate them for use case, I’d say that the S5ii is more like a 65% video focused MILC and the Z6iii the opposite and around 35% video. The Zf somewhere more like 50% because it’s highly capable for both video and stills but it’s issue is always going to be it is not a great lens platform and is really only suitable for small primes. I currently have the Tamron 28-75mm f2.8 on it and the results are great and it’s not an ergonomic nightmare, but a DSLR style body is much better to work with. But back on the S5ii, it was already my first choice for video (alongside the S1H which I prefer actually in EVERY regard except AF and that is why I had to make the S5ii my primary and not the S1H) and there were only two things I held against it: 1. The shutter button sound and feel. Tinny and not great next to the S1H and that killed it for me for stills use. Moving to Nikon solved that. 2. I use it with a Smallrig cage, side handle and Rode Micro. Try that on a gimbal 🤪 The latest firmware upgrade takes it from being ‘OK’ without a gimbal to ‘absolutely perfect for my needs without a gimbal’. What else is there in this class right now? Sony A7iv? Arguably better for stills but not as good for video. Nikon Z6ii? Equal for stills but not as good for video. Canon R6ii? Some will prefer its full frame 4k 60p but otherwise I don’t think it’s quite as complete a camera as the S5ii. And if you were already in the system, no reason to change. The Z6iii will be the next interesting one I am sure, at least equalling the S5ii for video and stills but taking the overall experience to the next level. I think…

It’s also an ‘updated’ film noire approach for the 2020’s. There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art. The locations, the lighting, the framing, how one frame leads in to another… My kind of filmmaking.

Yep, every time I invest in one, it ends up being too much for my use case. Too much cost, battery charging, transport, set up, storage etc. Just a PITA. No longer and never again!

It’s not just because the B&W makes it ‘arty’. The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series. The acting is great. The cinematography IMO is superb. I have zero criticisms of it and that is rare for me.

And the utter lack of it has me admiring Ripley on Netflix right now. I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production. Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great. Sorry it’s not a Joker II comment 😛

I should add that anything that does require a tripod such as full length ceremony and speeches IS being captured by the S1H on a tripod.

Purely walking backwards in front of a couple walking towards me at approx the same pace. Tried it previously with the gimbal and of course that works perfectly. Tried it with just the S5ii IBIS and with/without current EIS with mixed results. The new level looks 👊 Job done so good I sold the faffy gimbal and instead, from next week, I’ll just assign it to a custom setting et voila. The rest of the day, ie, everything else is IBIS only which is perfect for the job. I do not have the time to tripod every shot and a monopod also gets in the way so a super steady handheld shot is key for me and IBIS alone with the S5ii achieves this. I’ve even held it 2-3 minutes previously and whilst you can tell it was not on a tripod, it’s not far off and there is no real camera movement. I’m not a camera movement kind of guy so don’t talk to me about panning etc 😛

I’ve been wrestling with just having and using a gimbal for at least 5 years now and have just sold my 3rd and final trial unit, the DJI RS3. I have such a limited use case and arguably don’t need one at all, but there are a couple of times on most jobs when I would like the option but without any of the hassle. Step forward firmware update 2.0/3.0 It’s not out for a few days other than with a few folks who are showing it off, but damn, it’s looking good. OK it’s based on an even stronger EIS which crops harder, but that is fine by me as I prefer a longer lens and with my Sigma 28-70mm f2.8 glued on to my S5ii and in S35 4k 50p mode, what was already more like 42-105 is going to become more like a 50-120. 👍👍👍 For the very rare times I need wider, I still have the dinky 18-50mm (27-75) in the bag but this is now one sweet set up for my needs.

My prediction is: 1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line... 2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently. 3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop. Summary: Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve. I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard. Nothing else makes any sense to me. But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

I think it would be a much easier task to develop into this market rather than try and tackle head on the established ‘Hollywood’ industry. Pretentions of serious filmmaking? Then have someone use your new Nikon NX3’s on the sequel to ‘The Creator’, but otherwise, gifting 100 units to 100 Kool Kids for their YouTubes is extremely cost effective marketing.